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HOLBEIN 

THE      YODNGER 


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PART  4  VOLUME  I 


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42-(SauiiQi-^ttKt 


MASTERS     IN 

II 


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be     B  0  u  n 


GERMAN     SC 


60 


MASTEHS  TK  AORT.      PLATE  I. 


335686 


HOT.BEfX 

THE  MEXEH  MADOJJflf A 

GKA:N^D-DUCAr,  PAI^ACE,   DAEMSTADT 


MASTERS  IX  AKT.      PLATE  H 


HOLBEIJS- 

HOLBEIX'S  WIPE  AlfU  CHILDIIEN 

BASLE  MUSEUM 


i.STERS  IX  ART.      PLATE  HI. 


HOLBEIJV 

POHTRAIT  OF  GEOEG  GTZE 

BERIiTIf  GALLERY 


tASTEBS  IK"  AKT.      PLATE 


HOLBKIJJ 

POETKAIT  OF  CHKISTUVA,  DCTCHESS   OF  MILAN 

NATIONAL  GALLEET,  LONDON 


ASTEES  IX   ART.      PLATE  V. 


HOLBEIN 

POHTHAIT  OF  A  MAN  WITH  HIS  CHILD 

ST  A  DEL  INSTITUTE,  rHANKFORT 


MASTEHS  IN  AET.      PLATE  VI. 


HOLBEIIf 

POETKAIT  OF  EKASMUS 

LOtJVEE,  PAKIS 


MASTERS  IN   AHT.      PI.ATE  VTT. 


HOLBEtN- 
POHTHAIT  OF  JAJVE  SETMOTTH 
IMPEKIAL  GALIiEHX,  VIENNA 


^STEKS  IN  AKT.      PLATE  VIFI. 


HOLBEIN 

POETEAIT  OF  THE  DTTKE  OF  NORFOLK 

KOTAL.  GALLEHT,  WINDSOR 


STEES  IN  ABT.      PLATE  IX. 


HOLBEIN 

POHTRAIT  OF  HTJBEET  MORETT 

BOXAIi  GAIil/EHX,  DHESDEN 


ASTiLRS   IJSr   AHT.      l>I,ATp;  X. 


HOLBEIN 

POHTBAIT  OF  KOBERT  CHESEMAW 

GALLEKY  OF  THE  HAGUE 


PORTHAIT    OF    HOLKKIH 


HT    HrMSF:l.F 


This  portrait  of  Holbein,  from  a  colored  drawing  now  in  the  Basle 
Museum,  was  taken  by  himself  when  about  twenty-five  years  of  age. 
The  expression  denotes,  in  a  remarkable  degree,  keen  observation  and 
quiet  reserve  power.  He  wears  a  red  hat  and  a  grey  coat  with  a  black 
velvet  border. 


MASTERS    IN    ART 


Mam  Molhtin  l^t  Uonn^tt 


I 


;ORN   1497  :    DIED   1543 
GERMAN    SCHOOL 


M.ROBINSON  "MAGAZINEOFART,"      VOL.9 

N  the  year  1497,  when  the  Great  Maximilian  was  Emperor  of  the  West,  Hans 
Holbein  the  younger  was  born  in  the  imperial  city  of  Augsburg,  wherein  his  father, 
his  uncle,  his  mother's  father,  and,  indeed,  most  of  the  family,  were  in  business  as  paint- 
ers and  decorators.  Those  were  the  great  days  of  Augsburg;  the  city,  on  the  direct 
route  to  Italy,  was  the  richest  commercial  town  of  South  Germany,  and  it  was  also  the 
frequent  halting-place  of  Maximilian,  his  court,  and  his  armies.  Its  intercourse  with 
Italy,  too,  had  great  influence  in  the  development  of  artistic  ideas;  and  though  one  or 
two  medieeval  buildings  heighten  the  contrast,  Augsburg  is  essentially  a  city  of  the  Re- 
naissance. .  .  .  The  elder  Hans  Holbein  took  both  his  boys  —  Ambrosius  and  Hans 
—  into  his  studio,  and  the  three  worked  together  until  the  year  15 16.  The  work  was 
for  the  most  part  done  in  common,  but  a  book  of  sketches  by  the  younger  Hans,  pre- 
served in  the  Berlin  Museum,  shows  us  that  he  was  already  a  better  draughtsman  than 
his  father. 

In  the  year  i  5  i  5  Ambrosius  and  Hans  Holbein  went  to  Basle  —  at  that  time  a  cen- 
tre of  learning  and  enlightenment.  It  was  its  boast  that  every  house  contained  at  least 
one  learned  man;  and  the  great  Amerbach  press,  which  had  then  been  founded  for 
twenty  years,  must  have  been  an  immense  attraction  to  men  of  letters.  John  Amerbach 
had  recently  died,  and  business  was  carried  on  by  his  still  more  famous  partner,  John 
Froben.  Froben  and  a  forgotten  schoolmaster  were  Holbein's  first  patrons,  and  the 
well-known  printer's  mark  that  adorns  so  many  of  the  Froben  press  books  was  designed 
by  him  on  his  arrival  in  Basle.  He  also  found  another  powerful  patron  in  Jacob  Meyer, 
the  first  commoner  who  ever  held  office  as  Burgomaster  of  Basle,  and  under  whose  rule 
the  reformation  of  the  city  laws  was  peaceably  carried  out.  But  the  local  magnate, 
powerful  in  his  time  and  citv,  is  remembered  chieflv  as  the  original  of  Holbein's  first 
portrait  painted  in  Basle,  and  as  the  art  patron  for  whom  the  Meyer  Madonna  was 
painted  eight  or  nine  years  later.  With  two  such  influential  patrons  as  Froben  and 
Meyer,  Holbein's  position  must  have  been  assured;  but  in  1517  he  left  the  city  and 
spent  two  years  in  travel.  At  Lucerne  and  Altorf  he  left  traces  of  his  passing,  but  no- 
where else  do  we  follow  him.  It  is  said,  on  doubtful  authority,  that  he  never  set  foot 
in  Italv;  but  the  astonishing  development  of  his  powers  suggests  that  he  must,  by  a 
sight  of  some  of  the  masterpieces  of  Italian  art,  have  had  a  new  ideal  suggested  to  him 
at  about  this  time. 

In  I  5  1 9  Ambrosius  Holbein  died,  and  we  know  that  in  this  year  Hans  returned 
and  settled  in   Basle,  for  his  portrait  of  Bonifacius  Amerbach,  son  of  Amerbach  the 


22  St^a^tcrj^in^lrt 

printer,  bears  this  date.  The  next  year,  1520,  so  important  in  history  as  the  year  of 
Luther's  excommunication,  of  Raphael's  death,  and  of  the  meeting  of  the  Field  of  the 
Cloth  of  Gold,  was  also  an  important  year  in  Holbein's  life.  In  it  he  became  a  citizen 
of  Basle,  and  a  member  of  the  Painters'  Guild;  and  in  it  Erasmus,  after  an  absence  of 
six  years,  returned  to  Basle,  and  returned  as  a  resident.  The  learned  Dutchman,  the 
first  man  of  letters  since  the  old  days  of  Rome,  had  accepted  the  post  of  editor  and  pub- 
hsher's  reader  to  his  friend,  John  Froben,  in  whose  house  he  was  to  make  his  home. 
.  .  .  Between  Holbein  and  Erasmus  some  sort  of  friendship  quickly  sprang  up,  a 
friendship  founded  rather  on  mutual  admiration  than  the  intimate  interchange  of  ideas; 
for  Erasmus  spoke  no  modern  language  except  his  native  Dutch,  and  by  the  inscriptions 
on  his  portraits  Holbein  betrays  an  ignorance  of  the  Latin  language,  and  a  capacity  for 
phonetic  spelling,  tempered  by  German  pronunciation,  that  are  truly  astonishing.  But 
despite  this  ignorance  ot  Latin,  Holbein  did  undoubtedly  enjoy  some  measure  of  inti- 
macy with  Erasmus,  and  the  sketches  with  which  he  illustrated  the  latter' s  "  Praise  of 
Folly  "  prove  that  by  some  means  he  managed  to  get  at  the  meaning  of  Latin  books. 

The  tendency  of  the  Reformation  was  unfavorable  to  art,  and  but  for  the  patronage 
of  Meyer,  Holbein  would  have  received  no  important  commission  in  Basle.  Easel  pic- 
tures of  this  period  are  rare,  and  Holbein  seems  chiefly  to  have  been  employed  in  de- 
signing for  stained  glass,  decorating  furniture,  and  illustrating  books.  The  impressive, 
terribly  realistic  "Dead  Christ,"  painted  in  1521,  and  now  in  the  Basle  Museum, 
was  probably  not  a  commission,  but  painted  merely  as  a  study.  Never  again  did  he 
depict  death  with  such  solemn  dignity.  .  .  .  The  whole  point  of  the  "Dance  of 
Death  "  [a  series  of  small  wood-cuts  designed  by  Holbein]  is  in  the  malicious  pleasure 
with  which  Death  beholds  the  consternation  of  his  victims:  pope,  emperor,  preacher, 
nun,  are  alike  unready  for  his  coming;  rich  and  poor,  young  and  old,  make  the  same 
desperate,  vain  resistance.  The  "Dance  of  Death,"  like  the  Bible  illustrations,  are 
undated;  but  the  drawings  must  have  been  made  some  time  before  1527,  for  in  that 
year  Hans  Liitzelberger,  their  engraver,  died,  leaving  his  work  unfinished,  and  for  more 
than  ten  years  the  publication  was  delayed,  it  being  impossible  to  find  a  wood-engraver 
competent  to  render  the  action  and  the  expression  of  the  tiny  faces.  The  dramatic  feel- 
ing, the  raciness,  the  grim  humor  and  abundant  fancy  of  these  little  masterpieces,  as 
well  as  the  extreme  care  of  their  composition  and  drawing,  prove  that  Holbein  must 
have  thrown  himself  heart  and  soul  into  their  composition. 

But  book-illustrating  was  poorly-paid  work,  and  as  time  went  on,  Holbein  found  the 
difiiculty  of  living  increase.  He  had,  moreover,  added  to  his  cares  by  marriage  with  a 
widow,  Elsbeth  Schmidt,  a  woman  some  years  older  than  himself.  There  may  be  some 
truth  in  the  legend  that  Holbein  was  driven  by  his  wife's  tongue  from  Basle,  but  the 
real  reason  of  his  leaving  was  probably  that  mentioned  by  Erasmus  to  More,  the  want 
of  money.  So,  bearing  this  one  letter  of  introduction  from  Froben' s  editor  to  Sir  Thomas 
More,  Speaker  of  the  English  House  of  Commons,  Holbein  went  forth  one  summer 
morning  of  i  526  to  seek  his  fortune  in  a  strange  land.    .    .    . 

"Master  Haunce,"  as  we  find  Holbein  colloquially  called  in  England,  arrived  in 
London  towards  the  close  of  1526.  The  influence  of  the  Renaissance,  which  had  al- 
ready left  its  mark  on  public  buildings  and  monuments,  had  not  extended  to  houses  of 
ordinary  size,  which  were  still  built  chiefly  of  wood  and  mud,  and  set  close  together  in 
very  narrow  streets;  the  rooms  were  usually  small  and  dark,  and  the  flooring  of  the 
lower  story  was  commonly  merely  the  beaten  earth  on  which  the  house  was  built. 
Each  tradesman  hung  out  a  swinging  sign  above  his  shop,  and  besides  shops  many  booths 
and  stalls  were  placed  in  the  crowded  streets.  Carriages  were  happily  extremely  rare; 
those  who  did  not  ride  went  on  foot,  but  even  so  the  streets  were  intensely  thronged. 


l^an^sfi^oibcin  23 

From  the  highest  to  the  lowest  all  London  jostled  and  hustled  in  the  narrow  wavs  noisv 
with  screaming  cries  of  the  hawkers  and  keepers  of  booths  and  stalls.    .    .    . 

On  his  arrival  Holbein  passed  through  the  noisy  citv  till  he  reached  the  green  river- 
side country  at  Chelsea,  where  Sir  Thomas  More  lived.  Here  he  was  welcomed  for 
the  sake  of  Erasmus,  and  here  he  remained  throughout  his  first  visit  to  England.  Here 
too  he  met  Archbishop  Warham,  Nicholas  Kratzer,  and  Fisher,  who  was  destined  to 
become  More's  fellow-martyr.  These  and  many  others  gave  him  sittings,  and  he  also 
made  drawings  and  studies  of  More  and  his  household  —  studies  intended  to  be  used  for 
the  great  group  of  the  More  family  —  a  picture  which  however  remained  forever  un- 
finished. 

In  the  summer  of  l  528  that  dreaded  malady,  the  Plague,  broke  out  in  England,  and 
for  fear  of  infection,  or  else  by  order  of  his  guild,  our  painter  returned  to  Basle,  where 
he  finished  the  decorations  for  the  town  hall  [begun  in  1521,  and  now  no  longer 
in  existence]  .  But  Basle  was  the  Basle  of  his  youth  no  longer.  Froben  was  dead,  Eras- 
mus, Meyer,  and  the  majority  of  the  cultured  class  had  abandoned  the  city  to  the  zeal 
of  the  Reformers.  Holbein  could  not  adapt  himself  to  the  new  order  of  things,  and  in 
the  autumn  of  i  53  i  we  find  him  once  more  in  London.  Three  years  had  brought  great 
changes  to  England.  The  breach  between  Pope  and  King  was  daily  widening,  and  a 
few  months  after  Holbein's  return,  the  resignation  of  More  from  the  Lord  Chancel- 
lorship brought  an  end  to  the  painter's  hopes  of  court  patronage.  In  the  meantime  he 
was  working  for  the  German  merchants  of  the  Steelyard,  and  had  settled  himself  in  the 
parish  of  St.  Andrew  Undershaft,  which  was  his  home  for  the  remainder  of  his  life.  .  .  . 

It  is  about  1537  that  we  find  the  first  evidence  of  Holbein's  official  connection  with 
the  Court,  and  in  this  year  he  painted  the  great  portrait  of  Henry  VII.  with  Elizabeth 
of  York,  and  Henry  VIII.  with  Jane  Seymour,  for  the  Privy  Chamber  of  the  Palace  of 
Westminster.  The  original  perished  in  the  fire  which  destroyed  the  Palace  in  1698, 
but  the  composition  of  it  is  familiar  to  us  through  the  small  copv  at  Hampton  Court  and 
the  large  cartoon  of  a  portion  of  it  which  is  in  the  possession  of  the  Duke  of  Devon- 
shire. [According  to  the  best  authorities  there  is  no  oil  painting  of  Henry  VIII.  by  Hol- 
bein in  existence.] 

Hans  Holbein's  death,  like  his  birth  and  life,  is  enveloped  in  mystery.  All  that  we 
know  is  that  in  the  year  i  543  the  Plague  again  attacked  London,  that  on  the  seventh  of 
October  he  made  his  will,  and  that  on  the  twenty-ninth  of  November  he  was  already 
numbered  with  the  dead.  And  so,  without  a  sign,  with  no  word  to  note  the  day  or 
manner  of  his  death,  or  the  place  of  his  burial,  the  great  painter,  whose  work  is  so  well 
and  whose  character  so  little  known,  passes  silently  from  the  pages  of  history. 

ALFRED     WOLTMANN  ««HOLBEIN     UND     SEINE     ZEIT" 

DURING  the  whole  of  the  Middle  Ages,  princes  and  great  lords  were  accus- 
tomed to  have  their  painter,  who  stood  in  permanent  connection  with  the  court, 
belonged  to  their  household,  and  had  his  position  among  the  lowest  members  of  it, 
being  named  in  one  and  the  same  breath  with  stable-boys,  scullions,  and  apothecaries. 
By  degrees  the  position  of  the  artist  rose;  for  with  the  rise  of  his  art,  his  personal  import- 
ance also  increased  in  the  eyes  of  his  master,  and  the  painter  not  unfrequently  entered 
into  more  intimate  relations  with  his  prince,  and  in  order  to  give  a  fitting  expression 
to  such  a  relation,  he  was  frequently  invested  with  the  rank  and  title  of  a  "varlet  de 
chambre,"  an  honor  which  he  shared  with  poets,  musicians,  and  often  with  the  court 
jesters.  This  was  a  great  advance  compared  with  former  experiences,  although  the  artist 
was  still  obliged  to  conduct  himself  right  modestly  towards  the  whole  suite  of  spiritual, 
knightly,  and  political  servants  of  the  court.    Such  was  the  position  of  a  Jan  Van  Eyck 


24  a^a^tcr^inSlrt  v 

at  the  court  of  Burgundy;  such  also  the  position  of  the  painters  at  the  Northern  courts 
in  the  sixteenth  century,  of  the  three  Clouets  in  the  service  of  the  French  monarch,  and 
equally  so  of  Holbein  at  the  English  court,  who  bore  the  official  title:  "Servant  to  the 
King's  Majesty." 

And  what  had  he  to  do  in  this  position?  In  this  respect  the  advance  made  above  the 
Middle  Ages  was  far  less  than  that  with  regard  to  rank.  The  painter  was  and  remained 
no  more  and  no  less  than  a  factotum  for  everything  that  could  be  done  with  the  brush. 
In  state  apartments,  and  in  sleeping-rooms,  in  house  and  hall,  in  stable  and  kitchen,  he 
had  to  arrange,  to  decorate,  and  to  paint,  sometimes  one  thing,  and  sometimes  another, 
the  furniture  and  the  household  matters,  the  coats-of-arms,  and  the  shields,  the  pennons 
and  flags  of  the  ships,  the  saddles  of  the  horses,  and  even  the  cakes  that  came  to  table. 
The  talent  and  skill  of  painters,  their  imagination  as  well  as  their  execution,  were  in 
demand  for  the  scenery  of  festivities,  for  passing  decorations,  for  exhibitions  and  pageants. 
The  court  painters  were  expected  to  obey  all  the  whims  and  fancies  of  their  master,  trifles 
occupied  their  time,  and  they  were  obliged  to  expend  their  genius  and  their  powers  on  a 
thousand  unimportant  and  perishable  things. 

One  branch  of  artistic  activity  had,  however,  been  developed  since  the  beginning  of 
the  fifteenth  century,  which  gave  the  court  painter  true  satisfaction,  and  afforded  him 
opportunity  after  all  his  trivial  occupations  to  gather  together  his  powers  and  to  work  as 
an  artist,  and  not  as  an  artisan;  namely,  portraiture.  This  branch  of  art  grew  more  and 
more  in  favor  at  courts;  it  became  a  pastime,  a  fashion,  and  a  matter  of  luxury.  Portraits 
appeared  in  all  conceivable  forms,  in  various  styles,  and  of  various  sizes,  sometimes  as  a 
head  or  a  half-length  figure,  sometimes  the  whole  figure,  painted  in  oil  on  wooden  panels 
of  difi^erent  forms,  or  in  miniature  on  cards,  or  in  frescos  on  the  wall.  They  appeared 
in  life-size,  and  even  on  a  colossal  scale,  but  still  more  frequently  in  a  smaller  form.  In 
this  case  thev  formed  portable  objects,  which  could  easily  be  taken  from  place  to  place 
by  their  possessors. 

This  role  of  artistic  factotum  Holbein  was  enabled  to  plav  under  somewhat  alleviated 
circumstances.  Henry  VIII.  had  a  number  of  other  painters  in  his  service,  to  whom 
the  coarsest  work  was  usually  assigned.  The  business  of  house-painter  and  decorator 
belonged  to  the  appointed  sergeant-painter  at  that  time,  the  Englishman  Andrew  Wright. 
Freed  from  care  of  the  most  ordinary  requirements  of  the  court  painter  Holbein  could 
devote  himself  to  portrait  painting.  If  his  time  was  ever  claimed  for  other  matters,  it  was 
not  the  executing  hand  which  was  demanded  from  him,  but  his  inventive  mind,  which 
was  consulted  in  the  various  works  of  art-industry.  These  two  kinds  of  artistic  produc- 
tion to  the  exclusion  of  all  others  fully  occupied  Holbein  at  the  English  court. 

Holbein  certainly  did  not  torment  the  people  whom  he  painted  with  many  repeat^ 
sittings.  He  depicted  them,  even  in  the  sketch,  with  wonderfiil  fidelity  and  complete- 
ness, so  that  this  seems  to  have  been  afterwards  sufficient  for  the  painting.  In  numer- 
ous sheets  we  see  short  observations  written  in  the  painter's  hand,  relating  in  general  to 
the  color  of  the  dress  or  of  the  beard  and  hair.  Those  in  the  Windsor  Sketches,  which 
belong  to  the  earlier  years,  are  in  general  grander  in  effect,  and  those  belonging  to  his 
later  residence  in  England  are  on  the  contrary  more  delicate  and  fine  in  their  execution. 
At  first  he  usually  drew  upon  untinted  paper,  but  subsequently  he  gave  a  reddish  col- 
oring to  the  whole  sheet,  which  corresponded  to  the  flesh  tint  of  the  countenance. — 

FROM  THE  GERMAN. 


^an^i^tylhtin  25 

C|)e  art  of  flolftetn 


PAULMANTZ  "HANS      HOLBEIN" 

WE  have  been  taught  to  see  in  Holbein  only  an  eminent  portrait  painter,  but  although 
he  has  undoubtedly  deserved  this  title,  his  talents  were  less  restricted,  his  ambi- 
tions higher.  Like  the  Italians  of  the  glorious  age,  he  would  have  enjoyed  creating  vast 
spectacular  scenes  to  adorn  the  walls  of  palaces  and  churches.  Although  never  a  literary 
or  a  learned  man,  he  had  nevertheless  a  taste  for  beautiful  allegories,  and  was  inclined  to 
introduce  a  poetic  or  dramatic  element  into  his  compositions.  He  tried  it  indeed  more 
than  once.  But  of  all  the  great  scenes  which  Holbein  undertook  to  depict,  not  one  has 
come  down  to  us.  History  would  be  unjustly  indifferent,  however,  if  it  recorded  only 
what  survives;  all  that  has  ever  lived  should  be  held  sacred,  and  Holbein's  lost  works 
must  not  be  forgotten.  From  the  drawings  for  them  which  have  been  preserved,  it  may 
easily  be  seen  that  he  was  not  merely  a  portrait  painter.  His  works  which  have  been 
destroyed  by  fire  can  be  approximately  reconstructed,  and  we  feel  sure  that  in  his  deco- 
rative paintings  there  was  an  enthusiastic  feeling  for  complicated  and  stirring  scenes,  a 
confident  and  vigorous  touch,  in  short  a  sympathy  for  the  art  of  the  past  in  which  the 
primitive  qualities  —  introduced  both  consciously  and  unconsciously  —  remind  one  of 
Mantegna.  The  resemblance  is  of  course  very  incomplete.  ...  A  figure  somewhat 
shortened,  a  drapery  with  massive  folds,  betrav  here  and  there  that  Holbein  was  of  Ger- 
man origin.  But  these  occasional  eff^ects,  which  it  would  be  surprising  not  to  meet  with 
in  an  artist  of  Augsburg,  should  not  change  one's  estimate  of  the  general  character  of  his 
drawing,  and  of  his  thought.  To  the  traditions  of  his  country,  more  and  more  forgotten 
inBasleandinX'Ondon,  Holbein  was  happily  unfaithful.  His  ideal  is  very /'//><? ^.  Although 
his  Italianism  shows  itself  at  times,  yet  to  be  just  it  must  be  acknowledged  that  the  decora- 
tor of  the  Town  Hall  and  of  the  Steelvard  takes  true  satisfaction  in  his  own  German 
realism. 

It  would,  however,  be  a  mistake  to  expect  to  find  in  Holbein  a  man  who  was  in  any 
way  bewildered  by  the  ideal.  He  was  usually  calm,  his  flights  of  fancy  were  not  of  long 
duration,  and  his  mind  never  lingered  among  dreams.  He  lived  in  the  world  of  realities 
very  willingly,  and  even  when  inclined  to  soar  into  the  realm  of  fiction,  was  continually 
brought  back  to  every-day  fact  bv  the  study  of  the  faces  of  his  contemporaries  —  by 
portraiture. 

If  the  exact  portrayal  of  the  human  countenance  does  not  include  the  whole  of  Hol- 
bein's talent,  it  constitutes  at  least  an  essential  part  of  his  genius  and  of  his  work.  Here 
the  master  has  been  indefatigable,  full  of  will  and  decision.  It  has  been  remarked  that 
in  most  of  Holbein's  portraits  there  is  ^  certain  air  of  sadness.  The  world  in  which  the 
artist  lived  was,  as  we  know,  absorbed  in  serious  affairs.  The  early  years  of  the  six- 
teenth century  were  strangely  troubled  ones;  the  bitterness  of  religious  controversies 
tormented  honest  consciences,  and  a  somewhat  sad  gravity  might  well  be  accorded  to 
the  men  who  participated  and  suffered  in  these  spiritual  battles. 

And  Holbein  was  true  to  his  principle;  he  did  not  give  a  moral  character  to  his  models, 
from  any  preconceived  idea.  Even  if  exercised  discreetly  this  would  have  been  a  devia- 
tion from  the  truth,  and  Holbein  did  not  lie.  He  was  as  exact  in  representing  the  expres- 
sion of  the  inner  man  as  in  depicting  his  features.  .  .  .  He  had  no  wish  to  transform 
his  models  into  heroes.  We  know,  thanks  to  him,  the  '<make-up"  of  their  natural  refine- 
ment or  their  ugliness,  and  he  has  told  us,  as  plainly  as  is  possible  with  the  brush,  what 
was  transpiring  in^their  minds.  This  is  why  Holbein  is  above  all  an  historian.  But  his 
portraits  are  not  merely  notes  to  be  made  use  of  by  the  chroniclers,  they  are  suberb  paint- 


26  sr^aisfter^in^tt 

ings,  which  forcibly  impress  us  with  their  strength  and  their  character.  The  faithful 
historian  was  at  the  same  time  a  powerful  artist,  whose  manual  skill  is  incomparable.  In 
order  to  construct  a  figure  and  give  it  life,  he  draws  with  a  vigor  equalling  that  of  the 
most  learned  masters,  and  for  skilful  and  delicate  modelling  of  flesh  it  seems  as  if 
Leonardo  da  Vinci  himself  had  imparted  to  him  the  secret. —  from  the  french. 

WILHELM      LUBKE  "HISTORY     OF     ART" 

HOLBEIN  is  not  only  one  of  the  most  precocious  geniuses  in  the  history  of  art, 
appearing  as  an  excellent  painter  in  his  eighteenth  year,  but  he  also  belongs  to  the 
few  painters  of  the  North  who  were  imbued  wnth  the  qualities  of  the  Italian  school,  and 
at  the  same  time  developed  them  in  an  independent  manner.  He  is  the  sole  Northern 
painter  of  that  day,  not  even  excepting  Diirer,  who  attained  to  a  free,  magnificent  style, 
broke  away  from  the  wretchedly  depraved  taste  of  his  contemporaries,  and  portraved  the 
human  form  in  all  its  truth  and  beauty.  In  many  respects  he  may  be  compared  to  the 
great  Peter  Vischer,  who  in  the  same  way  burst  the  narrow  bounds  of  the  art  of  his 
fatherland,  without  sacrificing  the  strength,  depth,  and  freshness  of  the  genuine  German 
artist. 

ALFRED     WOLTMANN  "HOLBEIN     UND     SEINE     ZEIT" 

IN  depicting  each  separate  personage,  Holbein  took  the  point  of  view  which  each 
required  in  himself,  and  gave  to  each  all  that  belonged  to  him,  so  that  in  looking  at 
his  portraits  we  think  only  of  the  individual  represented,  and  can  entirely  forget  the  artist 
who  has  brought  him  before  us. 

This  important  quality  of  the  portrait  painter,  that  of  placing  his  own  subjectivity  b- 
ordinate  to  the  object  represented,  has  belonged  to  but  few  artists  in  a  like  degree.  Albrecht 
Diirer,  however  much  he  strives  in  portraiture  to  retain  the  smallest  details,  allows  his 
own  nature  to  appear  just  as  distinctly  as  the  character  of  the  person  represented.  .  .  . 
Leonardo  da  Vinci,  whose  portraits  in  many  ways  show  affinity  with  those  of  Holbein, 
as  far  as  regards  their  delicate  perfection  of  execution  and  their  acuteness  of  individuali- 
zation, is  really  only  at  ease  in  portraiture  when  he  has  to  represent  female  characters  of 
a  certain  kind,  whose  secret  inner  life  he  traces  tenderly  and  profoundly,  seeking  to  read 
it  as  an  enigma.  Titian,  again,  can  scarcely  depict  any  but  noble  natures.  Though  master 
of  every  means  to  make  his  figures  appear  round  and  lifelike,  yet  truth  in  depicting  the 
natural  appearance  is  never  his  real  aim.  He  does  not  represent  the  man  himself,  but 
borrows  from  him  only  the  idea  of  a  free  poetic  figure  of  the  heroic  style,  who  seems  by 
the  magic  of  colors  to  be  transported  into  a  higher  existence. 

So,  also,  the  great  portrait  painter  of  the  following  century.  Van  Dyck,  whom  we  are 
most  inclined  to  compare  with  Holbein,  because  he  labored  on  the  same  soil,  is  the  painter 
entirely  of  the  aristocratic  circles,  and  is  in  himself  aristocratic  in  his  conception.  Holbein 
depicts  men  as  they  are.  Van  Dyck  as  they  behave.  Even  in  those  who  have  felt  most 
deeply  the  storms  of  life,  \"an  Dyck  subdues  gloominess  and  care  into  slight  and  inter- 
esting melancholy.  When  Holbein  depicts  a  man,  he  thinks  of  nothing  else  but  him  — 
he  isolates  him,  he  places  him  before  us  in  unbiased  objective  truth.  Van  Dyck,  on  the 
contrary,  cannot  forbear  thinking,  not  merely  of  the  subject  of  his  painting,  but  also  of 
the  spectator,  whom  he  seeks  to  interest  and  to  fill  with  sympathy.  In  this  he  only  does 
what  the  people  themselves  were  wont  to  do,  so  soon  as  they  appeared  before  the  world. 
Had  Holbein's  contemporaries,  however,  deemed  this  necessary,  his  eye  would  never- 
theless have  keenly  penetrated  the  veil.  Though  laden  with  ornament  and  arrayed  in 
festive  garments,  Holbein  had  seen  them  at  their  work,  in  the  midst  of  all  the  cares  and 
perplexities  of  active  everv-dav  life.    In  these  men  the  whole  seriousness  of  their  age  is 


stamped  —  of  that  grand  and  agitated  epoch  in  which  contests  were  fought  which  had 
been  prepared  for  centuries,  and  in  which  the  soil  was  created  for  the  deeds  of  succeed- 
ing ages. 

In  closer  relation  to  Holbein  than  Van  Dyck  stands  Velasquez,  who  shares  his  capacity 
for  exact  and  absolute  truthfulness  to  life.  Yet  there  seems  to  be  nothing  more  different 
than  the  delicate  and  careful  execution  of  the  paintings  of  the  German  master  and  the 
breadth  and  boldness  of  the  Spaniard.  But  that  Holbein  was  capable  of  this  also,  when 
it  seemed  to  him  suitable,  is  shown  by  his  sketches  and  cursory  outlines,  and  is  exhibited 
in  a  work  such  as  the  cartoon  in  the  possession  of  the  Duke  of  Devonshire,  or  in  Holbein's 
family  picture  at  Basle. 

If  we  look,  however,  for  one  among  his  own  contemporaries  who  shows  the  most 
affinity  with  him  in  portraiture,  we  can  turn  to  no  other  than  Raphael.  He  too  combines 
the  utmost  individual  distinctness  with  the  most  delicate  taste,  and  in  his  picture  of  Leo  X., 
reaches  that  perfection  so  especially  admired  in  Holbein,  a  perfection  exhibited  in  the 
faithfial  execution  of  subordinate  things,  of  the  prayer-book  with  miniatures,  of  the  bell 
on  the  table,  of  the  mirror  on  the  back  of  the  chair,  in  which  the  whole  scene  is  reflected, 
because  all  these  accessories  seemed  to  produce  the  tone  of  feeling  suitable  to  the  repre- 
sentation of  this  personage. 

Realism,  however,  does  not  remain  Holbein's  ultimate  and  highest  aim,  and  even  his 
grand  importance  as  a  portrait  painter,  which  formed  for  a  long  time  his  sole  reputation, 
does  not  proceed  from  this  alone.  His  eye  was  so  organized  that,  like  the  old  Dutch 
painters,  he  perceived  all  the  details  of  nature  with  the  utmost  exactness.  At  the  same 
time,  however,  he  understood  what  they  did  not  understand  —  namely,  to  draw  back  a 
step,  and  to  see  that  which  he  represented  not  only  in  detail,  but  also  as  a  whole.  Thus 
there  is  for  him  a  higher  truth  than  that  which  exists  in  the  absolute  delineation  of  various 
things;  he  recognizes  the  general  laws  which  lie  at  their  foundation,  and  he  passes  over 
the  cleft  which  in  Northern  art  generally  speaking  lies  between  the  characteristic  and  the 
beautiful. 


H 


CROWE  <<  ENCYCLOPAEDIA     BRITANNICA" 

OLBEIN'S  portraits  all  display  that  uncommon  facility  for  seizing  character  which 
his  father  enjoyed  before  him,  and  which  he  had  inherited  in  an  expanded  form. 
No  amount  of  labor,  no  laboriousness  of  finish  —  and  of  both  he  was  ever  prodigal  — 
betrayed  him  into  loss  of  resemblance  or  expression.  No  painter  was  ever  quicker  at 
noting  peculiarities  of  physiognomy,  and  it  may  be  observed  that  in  none  of  his  faces, 
as  indeed  in  none  of  the  faces  one  sees  in  nature,  are  the  two  sides  alike.  Yet  he  was 
not  a  child  of  the  sixteenth  century,  as  the  Venetians  were,  in  substituting  touch  for  line. 
We  must  not  look  in  his  works  for  modulations  of  surface  or  subtle  contrasts  of  color  in 
juxtaposition.  His  method  was  to  the  very  last  delicate,  finished,  and  smooth,  as  became 
a  painter  of  the  old  school. 

SIR      FREDERICK      LEIGHTON  "ADDRESS,      ROYAL     ACADEMY,"      1893 

HARDLY  less  important  than  Nuremberg  as  a  centre  of  wealth  and  commerce,  or  in 
its  love  of  art,  was  the  great  Swabian  city,  Augsburg,  the  home  of  those  princes 
among  the  merchants  of  this  day,  the  Fuggers;  and  of  the  genius  of  the  Swabian  school, 
Hans  Holbein  the  Younger  is  the  noblest  product  and  the  supreme  glory.  I  say  the  Swabian 
school;  for  although  the  name  of  Holbein  is  closely  connected  with  Basle,  where  he  long 
resided,  he  was  born  at  Augsburg,  in  which  town  his  father,  himself  an  artist  of  great 
gifts,  lived  and  worked.  In  Holbein  we  have  a  complete  contrast  to  Durer;  a  man  not 
prone  to  theorize,  not  steeped  in  speculation,  a  dreamer  of  no  dreams;  without  passion 


28  Q^a^sftcrjg^in^l^rt 

but  full  of  joyous  fancies,  he  looked  out  with  serene  eyes  upon  the  world  around  him; 
accepting  Nature  without  preoccupation  or  afterthought,  but  with  a  keen  sense  of  all  her 
subtle  beauties,  loving  her  simplv  and  for  herself  As  a  draughtsman  he  displayed  a  flow, 
a  folness  of  form,  and  an  almost  classic  restraint  which  are  wanting  in  the  work  of  Dijrer, 
and  are,  indeed,  not  found  elsewhere  in  German  art.  As  a  colorist,  he  had  a  keen  sense 
of  the  values  of  tone  relations,  a  sense  in  which  Diirer  again  was  lacking;  not  so  Teutonic 
in  every  way  as  the  Nuremberg  master,  he  formed  a  link  between  the  Italian  and  the 
German  races.  A  less  powerfiil  personality  than  Diirer,  he  was  a  far  superior  painter. 
Proud  may  that  country  be  indeed  that  counts  two  names  so  great  in  art. 

JEAN      ROUSSEAU  <<  HANS     HOLBEIN" 

WHEN  I  think  of  Holbein,  I  picture  to  myself  one  of  those  giants  of  the  North 
who  led  the  Germanic  races  to  the  assault  of  the  Latin  world.  Never  has  cham- 
pion of  art  been  armed  like  Holbein  to  challenge  Italy  in  all  directions  and  on  every 
side.  He  rivals  Leonardo  in  subtlety  and  depth  of  expression,  as  well  as  in  the  power 
of  interpreting  character  and  life  in  his  portraits.  With  an  originalitv  which  equals  that 
of  Veronese,  he  understands  the  art  of  enriching  and  aggrandizing  his  pictures  bv  means 
of  sumptuous  architecture.  Mantegna  has  become  famous  through  his  "Triumph  of 
Caesar;"  Holbein  composed  two  similar  friezes,  allegorical  in  subject,  the  "Triumph 
of  Riches  "  and  the  "  Triumph  of  Poverty."  Raphael  is  the  immortal  painter  of  Ma- 
donnas; Holbein  painted  but  one  —  but  that  one  is  worthy  to  be  compared  with  the 
"  Madonna  di  San  Sisto."  With  Titian  alone  Holbein  cannot  compete  in  richness  of 
coloring,  and  only  by  Benvenuto  Cellini  is  he  surpassed  in  his  marvellous  designs  for 
jewelrv,  and  curious  devices  for  the  carving  of  sword-hilts  and  dagger-sheaths,  cups, 
vases,  etc. 

Germany  has  never  produced  another  genius  so  versadle  as  Holbein,  and  he  is  the 
more  astonishing,  coming  as  he  does  immediately  after  the  German  masters  of  the  fifteenth 
centurv,  so  stiff  and  rigid,  and  so  bound  down  by  their  Gothic  limitations,  that  even  Diirer 
could  not  entirelv  free  himself  from  their  traditions. — from  the  French. 


%f)t  (German  g)c|)ool  of  fainting 

1358    TO    1862 

JOHN      C.      VAN      DYKE  «' H  I  S  T  O  R  Y     O  F     P  A  I  N  T  I  N  G  " 

THE  Teutonic  lands,  like  most  of  the  countries  of  Europe,  received  their  first  art 
impulse  from  Chrisdanity  through  Italy.  The  centre  of  the  faith  was  at  Rome, 
and  from  there  the  influence  in  art  spread  west  and  north;  and  in  each  land  it  was  mod- 
ified by  local  peculiarities  of  type  and  temperament.  In  Germany,  even  in  the  early 
davs,  though  Christianitv  was  the  theme  of  early  illuminations,  miniatures,  and  the  like, 
and  though  there  was  a  traditional  form  reaching  back  to  Ital\-  and  Byzantium,  yet  un- 
der it  was  the  Teutonic  type  —  the  material,  awkward,  rather  coarse  Germanic  point  of 
view.  The  wish  to  realize  native  surroundings  was  apparent  from  the  beginning.  .  .  . 
In  wall-painting  a  poor  quality  of  work  was  executed  in  the  churches  as  early  as  the 
ninth  centurv,  and  probably  earlier.  Panel-painting  seems  to  have  come  into  existence 
before  the  thirteenth  century,  and  was  used  for  altar  decorations.  The  panels  were  done 
in  tempera,  with  figures  in  light  colors  upon  gold  grounds.  The  spirituality  of  the  age, 
with  a  mingling  of  northern  sentiment,  appeared  in  the  figure.    This  figure  was  at  dmes 


i^aujsf    i^oliJcin  29 

graceful,  and  again  awkward  and  archaic,  according  to  the  place  of  production,  and  the 
influence  of  either  France  or  Ttalv. 

In  the  fourteenth  century  the  influence  of  France  began  to  show  strongly  in  willowy 
figures,  long  flowing  draperies,  and  sentimental  poses.  The  artists  along  the  Rhine 
showed  this  more  than  those  in  the  provinces  to  the  east,  where  a  ruder  if  freer  art  ap- 
peared. The  best  panel-painting  of  the  time  was  done  at  Cologne,  where  we  meet  with 
the  name  of  the  first  painter,  Meister  Wilhelm,  and  where  a  school  was  established  usu- 
ally known  as  the  School  of  Cologne,  which  probably  got  its  sentimental  inclination, 
shown  in  slight  forms  and  tender  expression,  from  France,  but  derived  much  of  its  tech- 
nique from  the  Netherlands.    .    .    . 

German  art,  though  begun  in  the  fourteenth  century,  showed  but  little  depth  or 
breadth  until  the  fifteenth,  and  no  real  individual  strength  until  the  sixteenth  century. 
It  lagged  behind  the  other  countries  of  Europe,  and  produced  the  cramped  archaic  altar- 
piece.  Then,  when  printing  was  invented,  the  painter-engraver  came  into  existence. 
The  two  kinds  of  art  —  painting  and  engraving  —  being  produced  by  the  one  man  led 
to  much  detailed  line  work  with  the  brush.  Engraving  is  an  influence  to  be  borne  in 
mind  in  examining  the  painting  of  this  period. 

The  Franconian  division  of  the  German  school  had  for  its  centre  Nuremberg,  and 
its  most  famous  early  master  was  Wohlgemuth  ( 1 434— i  5  1 9  V  •  •  •  There  was  in  his 
work,  chiefly  altar-pieces,  an  advance  in  characterization,  nobility  of  expression,  and  quiet 
dignity;  and  it  was  his  good  fortune  to  be  the  master  of  one  of  the  most  thoroughly 
original  painters  of  all  the  German  schools  —  Albrecht  Diirer  ( 1471  — i  528),  who  holds 
first  rank  in  the  German  art  of  the  Renaissance,  not  only  on  account  of  his  technical 
ability,  but  also  because  of  his  imagination,  sincerity,  and  striking  originality.  Diirer' s 
influence  was  wide-spread  throughout  Germany,  especially  in  engraving,  of  which  he 
was  a  master.    .    .    . 

The  Swabian  division  of  the  German  school  includes*  a  number  of  painters  who  were 
located  at  diff"erent  places;  for  example  at  Colmar,  Ulm,  and  Augsburg;  and  in  the  six- 
teenth century  there  was  a  concentration  of  artistic  force  about  this  last  named  city, 
which  toward  the  close  of  the  preceding  century,  had  come  into  competition  with  Nu- 
remberg, and  rather  outranked  it  in  splendor.  It  was  at  Augsburg  that  the  Renaissance 
art  in  Germany  showed  in  more  restful  composition,  less  angularity,  better  modelling 
and  painting,  and  more  sense  of  the  ensemble  of  a  picture.  Hans  Burckmair  (1473- 
I  53 1 )  was  the  founder  of  the  so-called  school  of  Augsburg,  and  next  to  him  comes  the 
celebrated  Holbein  family,  of  whom  Hans  Holbein  the  Younger  holds  with  Diirer  the 
high  place  in  German  art.    .    .    . 

The  two  men  were  widely  different  in  their  points  of  view  and  in  their  work.  Diirer 
was  an  idealist  seeking  after  a  type,  a  religious  painter,  a  painter  of  panels  with  the  spirit 
of  an  engraver.  .  .  .  Holbein  was  emphatically  a  realist,  finding  material  in  the  actual 
life  about  him,  a  designer  of  cartoons  and  large  wall-paintings  in  something  of  the  Ital- 
ian spirit,  a  man  who  painted  religious  themes  with  but  little  spiritual  signification.  In 
composition  and  drawing  he  appeared  at  times  to  be  following  Mantegna  and  the  north- 
ern Italians;  in  brush-work  he  resembled  the  Flemings,  especially  Massys;  yet  he  was 
never  an  imitator  of  either  Italian  or  Flemish  painting.  His  wall-paintings  have  per- 
ished, but  the  drawings  from  them  are  preserved,  and  show  him  as  an  artist  of  much 
invention.  He  is  now  known  chiefly  by  his  portraits.  His  facility  in  grasping  physiog- 
nomy and  realizing  character,  the  quiet  dignity  of  his  composition,  his  firm  modelling, 
clear  outline,  harmonious  coloring,  excellent  detail,  and  easy  solid  painting,  all  place  him 
in  the  front  rank  of  great  painters. 

Of  the  small  Saxon  division  of  the  German  school  of  painting  Lucas  Cranach   the 


30  a^a^tcrj^in^rt 

Elder  (1472-1553)  was  the  leader.  His  work  was  fantastic,  odd  in  conception  and 
execution,  sometimes  ludicrous,  and  always  archaic-looking;  but  his  pictures  were  typ- 
ical of  the  time  and  country,  and  for  that  and  for  their  strong  individuality  are  ranked 
among  the  most  interesting  paintings  of  the  German  school.  Lucas  Cranach  the  Younger 
followed  his  father  closely,  but  was  a  weaker  painter.  Although  there  were  many  pu- 
pils, the  Saxon  school  did  not  go  bevond  the  Cranach  family. 

The  seventeenth  and  eighteenth  were  unrelieved  centuries  of  decline  in  German  paint- 
ing. After  Diirer,  Holbein,  and  Cranach  had  passed,  there  came  about  a  senseless  imi- 
tation of  Italy,  combined  with  an  equally  senseless  imitation  of  detail  in  nature,  that 
produced  nothing  worthy  of  the  name  of  original  or  genuine  art.    .    .    . 

In  the  first  part  of  the  nineteenth  century  there  started  in  Germany  a  so-called  "  re- 
vival of  art  "  led  by  Friedrich  Overbeck  and  a  few  others,  and  brought  about  by  the 
study  of  monumental  painting  in  Italy,  and  the  taking-up  of  the  religious  spirit  in  a  pre- 
Raphaelite  manner;   but  like  many  another  revival  of  art  it  did  not  amount  to  much. 

The  whole  academic  tendency  of  modem  painting  in  Germany  for  the  past  fifty  years 
has  not  been  favorable  to  the  best  kind  of  pictorial  art,  and  the  men  to-day  who  are  the 
great  artists  of  Germany  are  less  followers  of  the  German  tradition  than  individuals,  each 
working  in  a  style  peculiar  to  himself. 

MEMBERS     OF     THE     GERMAN     SCHOOL 

WILHELM  OF  COLOGNE,  flourished  1 358-78 —  Stephen  Lochner,  flourished 
1442-51 — Master  of  Liesborn,  flourished  1465  —  Michael  Wohlgemuth,  1434- 
1519 — Master  of  the  Lvversberg  Passion,  flourished  1463-80 — Israel  von  Meckenen, 
1440— 1503  —  Martin  Schongauer,  1450-8S  —  Matthias  Griinewald,  about  146010  after 
1529  —  Master  Christophorus,  flourished  1500-10  —  Master  of  the  Death  of  the  Virgin, 
flourished  1515-56  —  Hans  Holbein  the  elder,  about  1460-15 2 3,  and  his  brother  Sigmund 
Holbein,  1465  to  after  1540  —  Albrecht  Diirer,  1471-1528  —  Lucas  Cranach,  1472-1553 

—  Hans  Burckmair,  1473-1531 — Hans  Fuss  (Von  Kulmbach),  pupil  of  A.  Diirer,  died 
about  1522  —  Albrecht  Akdorfer,  bom  before  1480-1538  —  Hans  Leonard  Schaufelin, 
1490-1540  —  Hans  Holbein  the  younger,  1497-1543  —  Hans  Sebald  Beham,  1500-50, 
and  his  brother  Barthel  Beham,  1502  to  about  1540  —  Heinrich  Aldegrever,  1502-58  — 
Virgil  Solis,  1514-62 — Lucas  Cranach  the  younger,  1515-86 — Jost.  Amman,  1531 
-91 — Heinrich  Golzius,  1 558-1 61 7 — Johann  Rottenhammer,  15 64-1 62 3 — Adam 
Elshaimer,  1574— 1620  —  Joachim  von  Sandrart,  1606-8S — Balthasar  Denner,  1685— 1747 

—  Christ.  Will.  Ernst  Dietrich,  1712-74  —  Anton  Raphael  Mengs,  1728-78  —  Peter  von 
Cornelius,  1783-1867 — Johann  Fried.  Overbeck,  1789-1869  —  Fried.  Wil.  von  Schadow, 
1789-1862. 


%i)t  Works  of  ^olUin 

DESCRIPTIONS      OF     THE     PLATES 
'<THE     MEYER     MADONNA"  GRAND-DUCAL     PALACE:      DARMSTADT 

IN  the  year  1526,  shortly  before  his  departure  for  England,  and  at  a  time  when  the 
doctrines  of  the  Reformation  had  already  taken  root  in  Basle,  Holbein  gave  his  ser- 
vices with  impartial  spirit  to  the  Roman  Catholic  cause  bv  painting,  at  the  request  of  the 
Burgomaster  Jacob  Meyer,  an  altar-piece  representing  Meyer  and  his  family  in  adora- 
tion and  under  the  protection  of  the  Mrgin.    The  Madonna  with  the  Christ-Child  in 


i^anj^i^olbcin  3i 

her  arms  stands  in  the  centre  of  the  picture.  On  one  side  kneels  Meyer  with  his  two 
sons,  and  opposite  them  are  seen  his  deceased  first  wife  and  his  then  living  second  wife 
and  only  daughter.  Underneath  the  figures  is  spread  a  rich  carpet,  and  behind  them, 
forming  the  background,  is  a  piece  of  Renaissance  decoration.  "In  this  work,"  writes 
Liibke,  "Holbein  appears  as  one  of  the  first  among  the  painters  of  simple  votive  pictures. 
It  is  not  the  ravishing  force  of  lofty  beauty,  not  the  spirited  nobility  of  important  char- 
acters, but  the  fervid  devoutness  and  genuine  sentiment,  which  will  always  endear  it  to 
all  hearts." 

The  subject  of  the  painting  has  been  variously  explained.  By  some  it  has  been  thought 
to  be  commemorative  of  the  recovery  of  a  sick  child,  and  Mr.  Ruskin,  advocating  this 
theorv,  has  written:  "The  received  tradition  respecting  the  Holbein  Madonna  is  beauti- 
ful, and  I  believe  the  interpretation  to  be  true.  A  father  and  mother  have  prayed  to  her 
for  the  life  of  their  sick  child.  She  appears  to  them,  her  own  Child  in  her  arms.  She 
puts  down  her  Christ  before  them  —  takes  their  child  into  her  arms  instead — it  lies  down 
upon  her  bosom  and  stretches  its  hands  to  its  father  and  mother,  saying  farewell. ' '  Another 
explanation  is  that  the  child  standing  below  has  been  restored  to  health,  the  Infant  Jesus 
having  taken  upon  himself  the  sickness.  Again,  it  has  been  suggested  that  the  child  in 
the  Virgin's  arms  is  the  soul  of  a  baby  who  has  died.  But,  after  all,  the  true  meaning 
of  the  picture  seems  to  be  a  very  simple  one,  and  the  present  official  account  reads: 
"Jacob  Mever,  Burgomaster  of  Basle,  kneels  worshipping  with  his  family  before  the 
Virgin  Mary,  who  holds  the  Infant  Christ  in  her  arms." 

Until  the  year  1822  this  masterpiece  of  Holbein's  was  known  to  the  world  by  the 
replica  or  copy  in  the  Dresden  Gallery.  A  singular  controversy  waged  for  many  years 
in  regard  to  the  authenticity  of  the  two  pictures,  and  was  not  finally  settled  until  1871, 
when  at  the  Holbein  exhibition  held  in  Dresden  in  that  year,  the  two  pictures  were 
brought  together  and  hung  side  by  side.  It  was  then  decided  by  competent  critics  that 
the  Darmstadt  Madonna  was  "the  undoubtedly  genuine  original  by  Hans  Holbein  the 
vounger, "  and  the  Dresden  example  a  "free  copy  by  an  unknown  artist." 

(For  an  account  of  the  "Holbein  Controversy,"  as  it  has  been  called,  see  the 
interesting  article  in  "Old  and  New,"  (April,  1872),  by  S.  R.  Koehler,  entitled 
"The  Battle  of  the  Madonnas.") 

<«HOLBEIn's     wife     and     CHILDREN"  BASLE      MUSEUM 

"/^NE  of  Holbein's  first  works,  after  his  return  to  his  home"  (in  1529),  writes 
V^Knackfuss,  "was  perhaps  this  portrait  of  his  wife  and  children,  which  is  one  of 
the  most  striking  pictures  of  the  Basle  Museum.  We  see  here  Frau  Elsbeth  with  two 
children,  a  fair  boy  and  a  little  girl  with  reddish  hair.  The  figures  are  life-size,  painted 
in  oils  upon  paper,  and  then  cut  out,  and  pasted  upon  a  panel  of  wood,  and  the  whole 
work  is  a  masterpiece  —  a  marvellous  rendering  of  nature.  It  seems  as  if  the  painter  had 
represented  his  models  just  as  chance  had  placed  them  before  him;  and  yet  how  well 
considered  and  adjusted  the  work  is!  A  woman  past  her  first  youth,  two  healthy,  but 
by  no  means  unusually  charming  children,  all  three  in  the  simplest  sort  of  attire, — the 
tasteless  dress  of  the  mother  cut  low  in  the  neck,  according  to  the  fashion  which  pre- 
vailed at  that  time  in  Basle,  is  dark  green.  A  narrow  band  of  brown  fur  on  an  over- 
garment of  the  same  color  as  the  dress,  and  a  thin  veil  over  her  rather  light  hair,  which 
is  arranged  at  the  back  of  her  head  in  a  reddish  brown  cap,  are  the  only  ornaments.  The 
bov  wears  a  dusky  greenish-blue  smock  frock,  and  the  baby  a  colorless  little  gown  of 
some  light  woolen  material.  With  this  has  Holbein  created  a  picture  perfect  in  its  beauty 
of  light  and  shade,  in  the  flow  of  its  lines,  and  in  the  harmony  of  its  colors." 


32  ^a^tcr^inSlrt 

"PORTRAIT      OF     GEORG       GVZE"  BERLIN     GALLERY 

IN  the  year  1532,  during  Holbein's  second  sojourn  in  London,  he  painted  several  por- 
traits of  German  merchants  of  the  Steelyard — members  of  the  Hanseatic  League  who 
were  settled  in  London.  One  of  the  finest  of  these  portraits  is  that  of  Georg  Gyze,  of 
which  Mr.  Ruskin  has  written:  "Everv  accessory  is  perfect  with  a  fine  perfection:  the 
carnations  in  the  glass  vase  by  his  side  —  the  ball  of  gold,  chased  with  blue  enamel,  sus- 
pended on  the  wall  —  the  books  —  the  steelyard  —  the  papers  on  the  table,  the  seal- 
ring,  with  its  quartered  bearings, —  all  intensely  there,  and  there  in  beauty  of  which  no 
one  could  have  dreamed  that  even  flowers  or  gold  were  capable,  far  less  parchment  or 
steel.  But  every  change  of  shade  is  felt;  every  rich  and  rubied  line  of  petal  followed; 
every  subdued  gleam  in  the  soft  blue  of  the  enamel  and  bending  of  the  gold  touched  with 
a  hand  whose  patience  of  regard  creates  rather  than  paints.  The  jewel  itself  was  not  :o 
precious  as  the  rays  of  enduring  light  which  form  it,  and  flash  from  it,  beneath  that  error- 
less hand.  The  man  himself,  what  he  was  —  not  more;  but  to  all  conceivable  proof  of 
sight  —  in  all  aspect  of  life  or  thought  —  not  less.  He  sits  alone  in  his  accustomed  room, 
his  common  work  laid  out  before  him;  he  is  conscious  of  no  presence,  assumes  no  dig- 
nity, bears  no  sudden  or  superficial  look  of  care  or  interest,  lives  onlv  as  he  lived — but 
forever. ' ' 


"CHRISTINA,      DUCHESS     OF     MILAN"  NATIONAL     GALLERY:      LONDON 

AFTER  the  death  of  Jane  Seymour,  many  candidates  were  proposed  for  the  honor 
of  alliance  with  Henry  VIH.  Among  them  all  none  seemed  to  be  so  acceptable 
to  the  king  as  the  young  and  widowed  Duchess  of  Milan.  Daughter  of  the  King  of  Den- 
mark, and  niece  of  Charles  V.,  Emperor  of  Germany,  she  had,  when  a  child,  been 
wedded  to  Francesco  Sforza,  Duke  of  Milan,  who  died  soon  after  their  marriage.  As  a 
union  with  the  King  of  England  was  desirable  for  political  reasons,  the  Emperor  of  Ger- 
many eagerly  received  the  news  of  Henry's  inclination;  and  accordingly  the  English 
court  decided  to  despatch  a  painter  to  Brussels,  where  the  young  Duchess  then  was,  to 
take  a  portrait  of  her.  Hans  Holbein  was  selected  for  this  purpose;  and  from  the  three 
hours'  sketch  which  he  then  made,  he  afterwards  painted  this  picture  of  Christina.  She 
was  then  just  sixteen  years  old. 

"I  know  no  portrait,"  writes  Wornuni,  "that  I  can  compare  with  it  for  simplicity 
and  grandeur  combined;  both  paint  and  painter  are  forgotten  in  looking  at  a  work  like 
this;  you  see  only  the  incarnate  spirit,  and  feel  its  very  sphere.  Though  the  woman  is 
really  not  beautiful,  her  expression  is  fascinating  in  the  highest  degree.  The  rich  brown 
eyes,  with  the  yellow  ring  immediately  round  the  pupil,  seem  to  admit  you  to  the  secrets 
of  her  thoughts,  and  the  full  pouting  cherry  lips  irresistibly  command  admiration.  The 
beauty  of  this  exquisite  portrait  is  indeed  beyond  ordinary  powers  of  description." 

Christina  stands  before  us  dressed  in  deep  mourning.  She  wears  a  little  black  cap  which 
entirely  conceals  her  hair.  Her  gown  is  of  black  satin,  over  which  is  a  long  garment  also 
black,  and  lined  with  sable.  Around  the  neck  and  wrists  are  narrow  white  frills,  and 
in  her  hands  she  holds  a  long  light  glove.  A  ruby  ring,  on  the  third  finger  of  her 
left  hand,  is  her  sole  ornamjejit.  "She  is  not  so  delicately  fair  as  the  deceased  queen," 
wrote  Hutton,  the  English  envoy  in  Flanders,  "but  she  hathe  a  good  countenance;  and 
when  she  smiles,  two  little  dimples  appear  in  her  cheeks,  and  one  in  her  chin.  .  .  , 
She  is  very  friendly,  very  graceful  in  her  bearing,  and  soft  in  speech.  She  seems  to  be 
of  {'qw  words;  and  she  lisps  somewhat  in  talking,  which  does  not  become  her  badly." 

It  is  said  that  Henry  was  so  charmed  with  Holbein's  portrait  of  the  Duchess  that  he 


!^anj^i^olticiii  33 

immediately  sent  her  a  proposal  of  marriage,  which,  however,  she  declined,  saying  that 
she  would  gladly  have  accepted  the  honor  had  she  "possessed  two  heads."  This  reply 
however  is  fictitious,  for  Christina  was  apparently  by  no  means  averse  to  becoming  queen 
of  England;  and  when  urged  by  the  ambassador,  Wriothesley,  to  confide  in  him  her  per- 
sonal inclination,  blushed  deeply,  and  said,  "My  inclination?  What  am  I  to  say?"  And 
then  added,  smilingly,  "You  know  I  am  the  Emperor's  poor  servant,  and  must  obey 
his  will."  Charles  V.'s  friendly  feelings  towards  England  having  undergone  a  change, 
however,  the  alliance  never  took  place. 


"PORTRAITOF  A   MAN  WITH   HIS   CHILD"    STADEL   INSTITUTE:   FRANKFORT 

THIS  picture  of  an  unknown  man  and  his  child  was,  according  to  Passavant,  one 
of  the  works  of  Holbein's  early  years  in  Basle.  "It  is  painted,"  says  this  writer, 
"with  the  keenest  perception,  and  with  a  force  and  vigor  which  show  him  to  be  even 
then  the  most  finished  painter  of  the  German  school  of  that  time." 


"PORTRAIT     OF     ERASMUS"  LOUVRE:      PARIS 

"T  TOLBEIN'S  Erasmus  is  immortal,"  writes  Paul  Mantz.  "The  philosopher  is 
XT.  represented  in  profile,  engaged  in  his  daily  work,  and  is  absorbed  in  thought; 
that  strong  hand  of  his  quietly  transferring  to  paper  the  ideas  which  he  has  carefully  pon- 
dered. The  accuracy  of  the  drawing  is  incomparable.  It  would  have  been  impossible 
to  depict  with  greater  exactness  the  delicacy  of  that  profile  at  the  same  time  so  austere 
yet  so  expressive  of  a  subtle  humor,  and  those  lips  closed  by  the  long  habit  of  caution. 
It  is  always  astonishing  that  with  merely  material  means  —  with  colors,  oil,  and  a  brush — 
an  artist  can  express  the  innermost  thought,  and,  so  to  speak,  make  visible  the  invisible. 
Certainly  this  power,  which  partakes  of  the  nature  of  sorcery,  has  seldom  been  carried 
so  far  as  in  the  portrait  of  Erasmus  by  Holbein." 


"PORTRAIT     OF     JANE     SEYMOUR"  IMPERIAL     GALLERY:     VIENNA 

"''  I  "^HIS  portrait,"  writes  Woltmann,  "shows  that  in  the  technical  execution,  and 
X  in  the  background  tint  which  he  chose,  Holbein  ever  accommodated  himself  to 
the  subject  he  was  depicting,  and  that  a  colder  or  warmer  proportion  ^Plight  and  shade 
did  not  merely  belong  to  certain  periods  of  his  artistic  progress,  but  that  he,  at  the  same 
time,  allowed  sometimes  the  one  and  sometimes  the  other  to  prevail,  according  to  the 
personage  whom  he  was  delineating.  Jane  Seymour  was  famed  for  her  pure  fairness,  and 
therefore  this  cold  and_delicate  tint,  withjtsj'aint  gre;^  shadows,  was  suited  for  her  por- 
trait, and  Holbein  has  produced  nothing  more  beautiful.  She  appears  in  the  most  splendid 
costume,  an  under-dress  of  silver  brocade,  over  which  she  wears  a  gown  of  deep  red 
velvet.  Wherever  it  is  possible,  rich  gold  ornament  is  introduced;  her  dress  and  her  cap 
of  the  well-known  angular  form  are  studded  with  pearls,  and  a  chain  of  pearls  is  round 
her  neck,  from  which  is  suspended  a  rich  jewelled  ornament.  The  whole  is  executed  in 
miniature-like  perfection;  and  in  spite  of  this  splendor,  this  glittering  profusion,  the  coun- 
tenance of  the  queen  outshines  all  the  rest  with  its  wonderfully  delicate  and  clear  tint. 
How  soft  and  fine  are  the  hands  quietly  resting  in  each  other,  and  emerging  from  cuffs 
of  exquisitely  finished  Spanish  work!  How  beautifully  the  face  is  modelled,  and  how 
delicate  the  effect  of  the  grey  shadows!  Her  eyes  do  not  seek  the  spectator,  but  look 
calmly  forth,  and  one  is  especially  impressed  by  the  untroubled  serenity  of  her  brow." 


34  flt^a^tcrj9f:nSlrt 

''PORTRAIT    OF    THE    DUKE    OF    NORFOLK"         ROYAL    GALLERY:     WINDSOR 

THOMAS  HOWARD,  Duke  of  Norfolk  and  Lord  High  Admiral  of  England, 
was  at  the  summit  of  his  greatness  when  Holbein  painted  his  portrait  in  i  540.  He 
is  represented  in  a  dark  coat  trimmed  with  ermine  and  displaying  the  red  sleeves  of  the 
jerkin  underneath,  and  is  decorated  with  the  collar  of  the  Order  of  the  Garter  and  the 
badge  of  St.  George,  In  one  hand  he  holds  the  gold  baton  as  Earl  Marshal,  and  in  the 
other  the  white  staff  of  the  Lord  Chamberlain. 


"PORTRAIT  OF  HUBERT   MORETT"'         ROYAL  GALLERY:  DRESDEN 

THE  portrait  of  Hubert  Morett,  a  distinguished  jeweller  in  the  service  of  Henry 
VIIL,  and  the  friend  and  fellow-laborer  of  Holbein,  belongs  to  the  period  of  the 
painter's  second  visit  to  England. 

Morett  is  represented  as  richlv  dressed  in  black  satin,  silk  and  taffeta,  with  a  broad 
collar  of  sable.  In  one  hand  he  holds  a  glove,  while  the  other  rests  on  the  gilt  sheath 
of  a  dagger.  He  wears  a  black  cap  with  a  cameo,  and  around  his  neck  a  gold  chain, 
A  curtain  of  green  damask  forms  the  background.  Woltmann  writes:  "There  is  no 
painting  in  any  public  collection  more  fitted  to  exhibit  Holbein  at  his  height  as  a  por- 
trait painter,  combining  the  utmost  truth  with  the  finest  taste,  than  the  splendid  portrait 
of  Morett  in  the  Dresden  Gallery,  This  work,  that  of  Georg  Gyze  at  Berlin,  and  Jane 
Seymour  at  Vienna,  are  the  most  beautiful  portraits  by  Holbein  in  German  collections; 
three  productions  which,  differing  from  each  other  completelv  in  bearing  and  style,  stand 
forth  as  the  solution  of  three  wholly  different  artistic  tasks.  On  each  occasion  the  con- 
ception and  treatment  perfectly  suit  the  personage  designed." 

For  many  years  this  work  was  attributed  to  Leonardo  da  Vinci,  and  not  until  i  860 
was  the  final  restitution  made  to  Holbein.  Wornum  tells  us  that  "the  late  King  of 
Saxony,  Friedrich  August,  there  not  being  any  Leonardo  in  the  collection,  objected  to 
the  change  of  name,  and  the  consequent  exclusion  of  the  great  Florentine  from  his  gal- 
lery: the  restitution  therefore  could  not  take  place  till  after  that  king's  death."  This 
same  writer  calls  the  picture  "one  of  the  completest  of  Holbein's  portraits,  and  one  of 
the  finest  of  his  works."  Of  the  original  drawing  for  it  which  now  hangs  in  the  Dres- 
den gallery  beside  the  painting,  he  writes:  "For  force  and  truth  this  drawing  is  quite 
unsurpassed;  it  shows  what  can  be  accomplished  by  the  point,  without  the  aid  of  color, 
when  guided  by  a  hand  that  obeys  with  the  minutest  mechanical  precision  the  control 
of  an  eye  that  nothing  can  escape,  or  the  balance  of  a  judgment  by  which  nothing  is  too 
mmute  to  be  measured." 


"PORTRAIT  OF   ROBERT  CHESEMAN"  GALLERY  OF  THE  HAGUE 

THIS  portrait  of  the  king's  falconer  represents  him  as  richly  dressed  in  a  dark  fur- 
lined  cloak  showing  the  red  sleeves  of  a  jacket  worn  underneath.  His  grey  hair 
is  partly  covered  bv  a  black  cap,  and  on  his  left  wrist  he  holds  a  falcon.  The  back- 
ground of  the  picture  is  dark  green,  and  on  it  can  be  read  his  name  and  age  as  well  as 
the  date  of  the  painting. 

In  Sir  Joshua  Reynolds's  notes,  made  when  in  Holland  in  the  year  1781,  this  picture 
is  spoken  of  as  "admirable  for  its  truth  and  precision,  and  extremely  well  colored." 

1  Recent  authorities  consider  that  this  portrait  represents  not  Hubert  Morett,  thejeweUer,  but  Charles 
de  Solier,  Sieur  (or  Count)  de  Morette,  envoy  from  Francis  I.  to  the  English  court;  and  this  identification 
has  now  been  adopted  in  the  official  catalogue  of  the  Dresden  Gallery. 


THE      PRINCIPAL     PAINTINGS     OF      HOLBEIN      THE      YOUNGER 
WITH      THEIR      PRESENT      LOCATIONS 

ANTWERP  Museum:  Portrait  of  Erasmus  —  Augsburg  Cathedral:  Wings  of  an 
Altar-Piece  —  Basle  Museum:  Adam  and  Eve;  The  Dead  Christ;  The  Last  Supper; 
Descent  from  the  Cross;  Virgin  and  Child;  Christ  Crowned  with  Thorns,  and  the  Mother  of 
Sorrows;  Two  Heads  of  Saints;  School-master's  Sign-board;  Portrait  of  Jacob  Meyer  and 
of  His  Wife  Dorothea  Kannengiesser;  Holbein's  Wife  and  Children  (Plate  ii);  Portrait  of 
Georg  Schweiger;  Portrait  of  BonifaciusAmerbach;  Portrait  of  Erasmus;  Lais  Corinthiaca; 
Venus — Berlin  Gallery:  Portrait  of  Georg  Gyze  (Plate  in);  Two  Portraits  of  Young 
Men  —  Brunswick  Gallery:  Portrait  of  Cyriacus  Fallen  —  Cassel  Gallery:  Portrait 
of  an  Unknown  Man  —  Carlsruhe  Museum:  Saint  Ursula  and  Saint  George  —  Darm- 
stadt, Grand-Ducal  Palace:  The  Meyer  Madonna  (Plate  i)  —  Darmstadt  Gallery: 
Portrait  of  a  Young  Man  — Dresden,  Royal  Gallery:  Portrait  of  Hubert  Morett 
(Plate  IX);  Sir  Thomas  Godsalve  and  His  Son  —  Florence,  Uffizi  Gallery:  Portrait 
of  Sir  Richard  Southwell  —  Frankfort,  Stadel  Institute:  Portrait  of  Sir  George  of 
Cornwall;  Portrait  of  a  Man  with  His  Child  (Plate  v)  —  Freiburg  Cathedral:  Two 
Altar  Panels — The  Hague,  Gallery:  Portrait  of  Robert  Cheseman  (Plate  x);  Portrait 
of  a  Young  Woman — Hampton  Court:  Portrait  of  John  Reskymer;  Lady  Vaux  — 
Hanover,  Welfen  Museum:  Edward  VL  when  a  Child;  Portrait  of  Melanchthon  — 
Lisbon,  Royal  Palace:  Fountain  of  Life  —  London,  National  Gallery:  "The 
Ambassadors;"  Christina,  Duchess  of  Milan  (Loaned)  (Plate  iv)  —  London,  Pole 
Carew  Collection:  Portraits  of  Sir  William  and  Lady  Butts  —  London,  Grosvenor 
House:  Portrait  of  Sir  Bryan  Tuke  —  London,  Lambeth  Palace:  Portrait  of  Archbishop 
Warham  —  London,  Huth  Collection:  Portrait  of  Sir  Thomas  More  —  London, 
Ridgway  Collection:  Portrait  of  Thomas  Cromwell  —  London,  Company  of  the 
Barbers:  Henry  VIIL  and  the  Barber  Surgeons  (partly  by  Holbein)  —  Munich  Gallery: 
Portrait  of  Sir  Bryan  Tuke;  Portrait  ofDerickBorn  —  Paris,  Louv^re:  Portrait  of  Nicholas 
Kratzer;  Portrait  of  Erasmus  (Plate  vi);  Portrait  of  Archbishop  Warham;  Portrait  of  Anne 
of  Cleves;  Portrait  of  Sir  Henry  Wyatt;  Portrait  of  a  Young  Man;  Portrait  of  Sir  Richard 
Southwell  —  Prague  Museum:  Portrait  of  Lady  Vaux  —  Salisbury,  Longford  Castle: 
Portrait  of  Erasmus  —  Solothurn,  Municipal  Gallery:  Virgin  and  Child  —  Turin 
Gallery:  Portrait  of  Erasmus- — Vienna,  Imperial  Gallery:  Portrait  of  Jane  Seymour 
(Plate  vii);  Portrait  of  Dr.  Chamber;  Portrait  of  Deryck  Tybis;  Portrait  of  a  Young 
Man;  Portrait  of  an  Unknown  Lady  —  Windsor,  Royal  Gallery:  Portraits  of  Sir 
Henry  and  Lady  Guildford;  Portrait  of  the  Duke  of  Norfolk  (Plate  viii);  Christina, 
Duchess  of  Milan;   Portrait  of  Derick  Born. 

(Note:  The  above  list  does  not,  of  course,  include  Holbein's  drawings,  the  most  valu- 
able collections  of  which  are  at  Windsor  and  Basle.) 


flolftetn  33iiltograpi)p 

A     LIST     OF     the      principal     BOOKS     AND     MAGAZINE     ARTICLES 
DEALING      with       HOLBEIN       THE       YOUNGER       AND       HIS       SCHOOL 

BLANC,  C.  Histoire  des  Peintres  de  toutes  les  Ecoles.  (Paris,  1868)  —  Cundall,  J. 
Hans  Holbein.  (London,  1879) — Grimm,  H.  Fiinfzehn  Essays.  (Berlin,  1875)  — 
Grimm,  H.  Holbein's  Geburtsjahr.  (Berlin,  1867)  —  Hegner,  U.  Hans  Holbein  der 
Jiingere.  (Berlin,  1827)  —  Knackfuss,  H.  Hans  Holbein  der  Jiingere.  (Leipsic,  1897) 
—  Kugler,  F.  T.  Handbook  of  Painting:  The  German,  Flemish,  and  Dutch  Schools. 
Remodelled  by  Dr.  Waagen,  revised,  and  in  part  rewritten  by  J.  A.  Crowe.  (London, 
1874)  —  Lewald,  a.    Vie  du  Peintre  Jean  Holbein,  traduit  de  I'AUemand  par  F.  Cau- 


3  6  ^  a  ^  t  c  r  0    i  n    31  r  t 

mont.  (Basle,  I  85 7)  —  Lubke,  W.  History  of  Art.  (New  York,  1878)  —  Mantz,  P. 
Hans  Holbein.  (Paris,  1879)  —  Mechel,  C.  de.  CEuvre  de  Jean  Holbein,  etc.  (Basle, 
1780-92) — Rousseau,  J.  Hans  Holbein.  (Paris,  1885)  —  Ruskin,  J.  Ariadne  Floren- 
tina.  (London,  1876) — Waagen,  G.  F.  Treasures  of  Art  in  Great  Britain.  (London, 
1854)  —  Walpole,  H.  Anecdotes  of  Painting.  (London,  1782)  —  Wessely,  J.  E. 
Hans  Holbein.  [In  Dohme's  *' Kunst  und  Kiinstler,"  etc.]  (Leipsic,  1877)  —  Wolt- 
MANN,  A.  Holbein  und  seine  Zeit.  (Leipsic,  1874-76) — Woltmann,  A.  Holbein  and 
his  Time:  Trans,  by  F.  E.  Bunnett.  (London,  1S72) — ^  Woltmann,  A.,  and  WoER- 
MANN,  K.  Geschichte  der  Malerei.  (Leipsic,  1888)  —  Wornum,  R.  N.  Some  Account 
of  the  Life  and  Works  of  Hans  Holbein.  (London,  1867) — Wornum,  R.  N.  Hans 
Holbein  and  the  Meier  Madonna  (Arundel  Society,  London,  1S71). 

MAGAZINE    ARTICLES 

ARCH^OLOGIA,  vol.  39 :  Contemporaries  and  Successors  of  Holbein  (J.  G.  Nichols 
and  G.  Scharf) — Arch^ologia,  vol.  39:  Will  of  Holbein  (W.  H.  Blackj  A.  W. 
Franks) — ArcHjEOLOGia,  vol.  40:  Holbein's  Pictures  in  the  Earl  of  Radnor's  Collection 
(J.  G.  Nichols) — Art  Journal,  VOL.  19:  Hans  Holbein  —  Athen^um,  1896:  Holbein's 
''Ambassadors"  (W,  F.  Dickes)  —  Athen^um,  1887:  Ornamental  designs  by  Holbein 
(E.  His)  —  Art  Journal,  VOL.  49:  Holbein's  Porch  (G.  Fidler) — Atlantic  Monthly, 
VOL.  3:  Holbein's  Dance  of  Death  (R.  G.  White)  —  Canadian  Journal,  vol.  4:  Hol- 
bein's Dance  of  Death  (F.  Douce)  —  CoRNHiLL  Magazine,  vol.  i:  Sir  Joshua  and  Hol- 
bein (J.  Ruskin)  —  Edinburgh  Review,  vol.  125:  Life  and  Works  of  Hans  Holbein  — 
Every  Saturday,  1871:  New  Materials  about  Holbein  —  Fortnightly  Review,  vol. 
6:  Holbein  in  the  National  Portrait  Exhibition  (A.  Woltmann)  —  Fine  Arts  Quarterly, 
vol.  5:  Hans  Holbein  (G.  Kinkel)  —  Gazette  des  Beaux-Arts,  i860:  Du  Style  des 
deux  Holbein  (A.  Darcel).  1S69:  Holbein  (E.  Miintz).  1870:  Les  Madones  de  Darm- 
stadt et  de  Dresde  (H.  Lehmann).  i  879  :  Une  nouvelle  Biographie  de  Holbein  (E.  Miintz). 
1880:  Pour  qui  fut  peint  le  Portrait  d'Erasme  au  Musee  du  Louvre  (B.  Fillon).  1897, 
1898:  Hans  Holbein  sur  la  Route  d'ltalie  (P.  Gauthiez)  —  Gentleman's  Magazine 
(New  Series),  vol.  19:  Holbein  at  His  Easel  (C.  Pebody);  Jahrbuch  der  Preussischen 
Kunstsammlungen,  1891:  Die  Lehr-und  Wanderjahre  Hans  Holbeins  (E.  His).  1896: 
Die  Gemalde  von  Holbein  im  Baseler  Grossratsaale  (H.  A.  Schmid).  1897:  Ein  Mann- 
liches  Bildnis  Hans  Holbeins  (H.  A.  Schmid)  —  Literature,  vol.  3:  Holbein's  Dance 
of  Death — Magazine  of  Art,  vol.  9:  The  Youth  of  Holbein;  Holbein's  London  (F. 
M.  Robinson)  —  Magazine  of  Art,  vol.  15:  Mystery  of  Holbein's  "Ambassadors" 
(W.  F.  Dickes)  —  Magazine  of  Art,  vol.  19:  Holbein's  "Ambassadors"  —  New 
England  Magazine,  vol.  10:  Hans  Holbein  the  Younger  (A.  F.  Ferry) — Old  and 
New,  vol.  5:  The  Battle  of  the  Madonnas  (S.  R.  Koehler)  —  Penny  Magazine,  vol. 
8:  Hans  Holbein  —  Portfolio,  1878:  Portrait  of  a  German  Lady  (P.  G.  Hamerton)  — 
Portfolio,  1882:  Hans  Holbein  the  Younger  (F.  G.  Stephens) — Portfolio,  1890: 
"The  Ambassadors"  by  Hans  Holbein  (W.  Armstrong)  —  Portfolio,  1892:  Portrait 
of  a  Young  Man  by  Hans  Holbein  (W.  Armstrong) — Western,  vol.  6:  Holbein  and 
his  Time  (L.  Hinchman)  —  Westminster  Review,  vol.  8:  Hans  Holbein  —  Zeit- 
schrift  fur  Bildende  Kunst,  1866:  Holbein  und  Quentin  Massys  in  Longford  Castle 
(A.  Woltmann).  1867:  Hans  Holbein  und  sein  neuester  Biograph  (Anton  Springer); 
1868:  Zwei  Konige.  Nach  einem  Karton  von  Hans  Holbein  (A.  Woltmann).  1871: 
Neue  Baseler  Holbeinforschungen  (A.  Woltmann).  Die  Ergebnisse  des  Holbeln-Kon- 
gresses  (C.  v.  Liitzow).  1872:  Nachlese  von  der  Holbein- Ausstellung  (C.  v.  Liitzow); 
1875:  Holbein's  Selbstportrat  auf  Schloss  Fahna  (K.  Woermann).  1879:  Paul  Mantz 
Hans  Holbein  (A.  Woltmann).  1890:  Leonardo  da  Vinci's  und  H.  Holbein  d.  j.  Hand- 
zeichnungen  in  Windsor  (G.  Frizzoni).  1892:  Der  neue  Holbein  der  National  Gallery 
(M.  G.  Zimmermann).     Der  neue  Holbein  der  National  Gallery  (W.  Streit). 


MASTERS     IN     ART 


MASTERS  IN  ART 

BACK    NUMBERS    AND    BOUND    VOLUMES 


MASTERS  IN  ART  was  estcablished  in  January,  1900.  As  will  be 
seen  from  the  following  list  of  painters  and  sculptors  covered  by 
the  first  eight  years,  the  bound  volumes  form  a  fairly  complete  reference 
library  of  Art.     The  subjects,  in  order  of  publication,  are  as  follows  : 

VOLUME  I  (1900)  treats  of  Van  Dyck,  Titian,  Velasquez, 
Holbein,  Botticelli,  Rembrandt,  Reynolds,  Millet,  Giov.  Bellini, 
Murillo,  Frans  Hals,  and  Raphael. 

VOLUME  II  (1901)  treats  of  Rubens,  Da  Vinc-i,  Durer, 
Michelangelo  (Sculpture),  Michelangelo  (Puintinc/J,  Corot, 
Burne-Jones,  Ter  Borch,  Delia  Robbia,  Del  Sarto,  Gains- 
borough, and  Correggio. 

VOLUME  III  (1902)  treats  of  Phidias,  Perugino,  Holbein's 
Drawings,  Tintoretto,  Pieter  de  Hooch,  Nattier,  Paul  Potter, 
Giotto,  Praxiteles,  Hogarth,  Turner,  and  Luini. 
VOLUME  IV  (1903)  treats  of  Romney,  Fra  Angelico,  Wat- 
teau,  Raphael's  Frescos,  Donatel- 
lo,  Gerard  Dou,   Carpaccio,  Rosa 
Bonheur,    Guido  Reni,  Puvis  de 
Chavannes,    Giorgione,  Rossctti. 
VOLUME  V  (1904)  treats  of 
Fra    Bartolonimeo,    Greuze,  Dii- 
rer's   Engravings,    Lotto,   Land- 
seer,  Vernieer  of  Delft,   Pintoric- 
chio.  The  Van  Eycks,  Meissonier, 
Barye,  Veronese,  and  Copley. 
VOLUME  VI  (1905)  treats  of 
Watts,  Palma  Vecchio,  Madame 
Vigee  le  Brun,  Mantegna,  Char- 
din,  Benozzo  Gozzoli,  Jan  Steen, 
Memlinc,   Claude   Lorrain,    Ver- 
rocchio,  Raeburn,  and  Fra  Filip- 
po  Lippi. 

VOLUME   VII    (1906)   treats    of  Stuart,   David,    Bcicklin,   Sodoma, 

Collet, iblc,  Metsu,  Ingres,  Wilkie,  Ghirlandajo,  Bouguereau,  Goya,  and 

FrancM 

VOLUME    VIII    (1907)    treats  of  Sir  Thomas  Lawrence,    Ruisdael, 

Filijjpino  Lipj)i,  La  Tour,  Signorelli,  Masaccio,   Teniers   the   Younger, 

Tiepolo,   Delacroix,  Jules  Breton,  Rousseau,  and  Whistler. 

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MASTERS     IN     ART 


MASTERS  IN  MUSIC 

(a  companion  work  to   masters  in  art) 

Edited  by  DANIEL  GREGORT  MASON 


EACH  composer  is  taken  up  separately,  a  biography 
with  frontispiece  portrait  is  given,  followed  by  esti- 
mates of  his  genius  by  the  world's  greatest  musical 
critics,  and  selections  from  his  work,  carefully  edited 
and  accompanied  by  analytical  notes  by  the  editor.  To 
add  to  the  value  of  the  work  for  reference,  a  bibliog- 
raphy of  the  more  important  books  and  magazine 
articles  referring  to  each  composer,  with  a  classified  list 
of  his  chief  works,  is  included. 

The  principal  value  of  'Masters  in  Music'  lies 
in  the  selections  chosen  to  illustrate  each  composer's 
work.  There  are  1,152  pages  of  most  carefully  edited 
music,  i)rinled  from  plates  engraved  for  this  work.  The 
analysis  of  these  selections  gives  a  clear  understanding, 
not  only  of  the  style  and  purpose  of  the  composer,  but 
of  the  right  way  in  which  to  play  them.  There  are  576 
pages  of  reading-matter  and  thirty-six  insert  plates 
showing  portraits  and  autograph  music. 


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CONTENTS 


Volume  I 

Part  i,  MOZART 
Part  2,  CHOPIN 
Part  3.  GOUNOD 
Part  4,  MENDELSSOHN 
Part  s,  GREIG 
Part  6,  RAFF 

Volume  III 

Part  13,  WEBER 

Part  14,  FRANZ 

Part  15,  LISZT 

Part  16,  PURCELL 

Part  17,  STRAUSS 

Part  18,  The  SCARLATTI  S 

Volume  V 

Part  25,  SCHUMANN* 
Part  26,  SCHUMANN  § 
Part  27,  CESAR  FRANCK 
Part  28,  MEYERBEER 
Part  20,  BRAHMS* 
Part  30,  BRAHMS  § 

*  Piano  t  Orchestral 


Volume  II 

Part    7,  \  ERDI 
Part    8,  HAYDN 
Part    9,  BIZET 
Part  10,  BEETHOVEN* 
Part  ii,  BEETHOVEN  t 
Part  12,  HANDEL 

Volume  IV 

Part  19,  ROSSINI 
Part  20.  DVORAK 
Part  21,  SCHUBERT  t 
Part  22,  SCHUBERT  § 
Part  23,  TSCHAIKOWSKY 
Part  24,  BACH 

Volume  VI 

Part  31,  RUBINSTEIN 
Part  32,  BELLINI  — 

DONIZETTI 
Part  33,  CLUCK      .. 
Part  34,  SAINT-SAENS 
Part  35,  WAGNER 
Part  36,  WAGNER 

§  Songs 


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